The Ethiopian Orthodox Tewahedo Church has a rich musical tradition, deeply rooted in its history and spirituality. This tradition is often expressed through mezmur, spiritual songs that play a vital role in the church's worship and cultural identity. As part of exploring music that combines both contemporary and traditional music from around the globe, it's essential to delve into the classical mezmur tradition of the Ethiopian Orthodox Church.
Ethiopian Orthodox Priests at Timkat procession
The Historical Context
The Church of Ethiopia is one of the few Churches of Christendom where the worship of the primitive church has been preserved. This preservation is largely due to Ethiopia's geographical position and historical developments that led to its virtual isolation from the rest of the Christian world from the seventh century. As a result, Ethiopia retained the form of worship she had received in the 4th century. The noted church historian Rufinus has provided information that confirms the existence of prayer houses in Ethiopia before the introduction of Christianity as the official religion.
According to traditional sources, after the official acceptance of Christianity as the state religion, the Emperor Ezana, the first Christian ruler of Ethiopia, built a magnificent church at Aksum. During the early Christian period old temples of pagan times were transformed into churches. The old Sabaean temple at Yeha was made into a church by Abba Afse, one of the Nine Saints who came to Aksum from the Roman Empire in the 5th century.
Architectural Evolution of Churches
During the early Christian period, old temples were transformed into churches. Excavations in the area of the old Aksumite kingdom, at Adulis and Hawlti-Melazo, have brought to light the ruins of basilicas of Syrian type. An existing example of the basilica type of church is found at the ancient monastery of Debra Damo. The amazing monolithic churches of Lalibela are developments of this period. In the late mediaeval period, ecclesiastical architecture underwent a radical change and churches of octagonal or circular shape were constructed.
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The internal structure of the circular and octagonal churches consists of three concentric rings. The innermost part is the Maqdes or Sanctuary, also know as the Qeddusa Queddusan or Holy of Holies, where the Tabot or Ark rests; only priests and deacons have access to it. The Tabot represents the Ark of the Covenant, believed to have been brought to Ethiopia by Menelik I, the son of King Solomon. The second chamber is the Keddist, which is reserved for communicants, who receive the Sacrament, the women segregated from the men. The third division is the outer ambulatory which is known as the Qene Mahelet (the place of the cantors).
The Role of Music in Worship
Singing and chanting in the Ethiopian Orthodox Tewahedo Church are usually rendered in the classical Ethiopian language of Ge'ez. "Mezmur" refers to spiritual songs of the faith, written or inspired by Saint Yared.
Cantillation is an integral part of worship in the church of Ethiopia. On joyful occasions they chant and sing to the accompaniment of musical instruments. During periods of mourning the chanting is in a melancholic mode and is not accompanied by hand-clapping or rhythmic movements.
One can distinguish two types of church service in the Ethiopian Orthodox Church, indoor and outdoor. The former is conducted in the Holy of Holies by priests and deacons. The times of the services depend upon fasting periods and holy days. The times of the outdoor services, conducted by priests and Debteras also vary.
Saint Yared: The Father of Ethiopian Church Music
St. Yared was responsible for teaching the Zema (melody) of the chanting heard in the Ethiopian Orthodox Church, which is still used today. St Yared was a kinsman of Abba Gideon a priest of ‘Aksum. New York - In his latest song dedicated to the Ethiopian Millennium and entitled Musika Heiwete (Music is My Life), the renowned Ethiopian popular singer, Teddy Afro (Theodros Kassahun) traces the geneaology of his music to classical Zema or chant compositions of St. Yared, the great Ethiopian composer, choreographer and poet, who lived in Aksum almost 1500 years ago.
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Artist rendering of St Yared, the great Ethiopian composer, who lived in Aksum almost 1500 years ago.
St Yared’s chants are characterized as subtle, spiritually uplifting, and euphonic. Elaborate visual representation of chants, the introduction of additional musical instruments, movements and performances by Ethiopian scholars have further enriched and secured the continuity and dynamism of the tradition to the present.
Saint Yared, the great Ethiopian scholar, was born on April 5, 501 A.D. in the ancient city of Aksum. He completed the Old and New Testaments lessons at a much faster pace. He also finished the rest of lessons ahead of schedule and graduated to become a Deacon. He was fluent in Hebrew and Greek, apart from Ge’ez.
Yared’s Zema is mythologized and sacralized to the extent that the composition is seen as a special gift from heaven. Yared, guided by the Holy Spirit, he saw the angels using drums, horns, sistra, Masinko and harp and tau-cross staff instruments to accompany their songs of praise to God, he decided to adopt these instruments to all the church music and chants.
Yared's Zema and its Influence
According to Ethiopian legend, St. Yared obtained the three main Zema scores from three birds. These scores that Yared named Ge’ez, Izil, and Araray were revealed to him as a distraction from a path of destruction. Yared prepared his Zema composition from 548 to 568 AD.
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The Ethiopian emperor of the time was Emperor Gebre Mesqel (515-529), the son of the famous Emperor Kaleb, who in successfully, though briefly, reunited western and eastern Ethiopia on both sides of the Red Sea in 525 AD. St Yared visited and performed his Zema at the monastery.
Musical Instruments and Liturgical Books
The Qene Mahelet is divided into three sections by curtains. The western part is occupied by the Debteras or cantors who sing hymns and praise God to the accompaniment of musical instruments, drums, prayer-sticks and sistra. The rhythmic bet is marked by the movement of the prayer-sticks carried by the Debteras.
The Book of Digua and Tsome Digua, the book of chants for major church holidays and Sundays, whereas the book of Tsome Digua contain chants for the major lent (fasting) season (Abiy Tsom), holidays and daily prayer, praise and chant procedures. Digua is derived from the word Digua, which means to write chants of sorrow and tearful songs. The Book of Zimare, contain chants to be sang after Qurban (offerings) that is performed after Mass. The Book of Mewasit, chants to the dead.
The composer Yared wrote the notes of the Digua on parchment and he also composed ten musical notations. The notations were fully developed as musical written charts in the 17th century AD. The ten Zemawi notations are designed to correspond with the ten commandments of Genesis and the ten strings of harp.
An illustrated Zema chant text and notes from the Book of Digua
Modern Interpretations and Preservation
As part of our Songs from Studio East series we're exploring music that combines both contemporary and traditional music from around the globe. Today we meet Temesgen Hussein of East Lansing. He was born and raised in Ethiopia. And he’s one of just a few outside that country who plays the begena. It’s used mainly in religious festivities almost exclusively, but Temesgen is breaking with tradition and introducing the begena to contemporary music. The buzzing sound is what makes this harp unique.
In Ethiopia, the begena is mainly used in meditation and prayer in the home. The instrument is very much connected with the Ethiopian Orthodox Church. It’s rare, even for people in Ethiopia to hear it. That’s because begena songs are heard only once a year during Lent. According to folklore, the Queen of Sheba traveled to Israel to seek out the wisdom of King Solomon. He was the son of King David. When she got back to Ethiopia she had a son, Menelik I. The begena is not for entertainment. And it’s not commonly played in public. But, Temesgen is testing those limits.
Today, efforts are being made to preserve and promote this traditional music. For example, the annual celebration of St. Yared’s birthday in Debre Selam Qidist Mariam Church in Washington D.C. in the presence of a large number of Ethiopian Americans is an excellent example of tradition of modernity.
Fasting is strictly observed by all faithful members of the church. There are approximately 250 fast days in the year, although not all of these are compulsory for everyone.
| Fast | Description |
|---|---|
| Wednesdays and Fridays | All Wednesdays and Fridays, except for the 50 days after Easter. |
| Fast of the Apostles | Varies in length, depending upon the date of Easter, and maybe a minimum of 14 days and maximum of 44. This fast commemorates St. Peter and St. Paul. |
| Other Fasts | The fast of the apostles and the fast of the prophets are compulsory for clergy only, although they are also observed by many of the faithful. All the other fasts are considered obligatory for all devout Christians, except children under seven. |
Nine major and nine minor holy days are observed in the church of Ethiopia. As in the rest of the Christian world Sunday is observed as a day of rest. On holy days believers are expected to refrain form heavy labor and manual tasks.
